The golden rule for good writing is not a rule of grammar. It is true that there are rules of grammar, as in music there are rules of harmony, and that they are important, but one can no more write good English merely by keeping these rules than one can compose good music. The golden rule for good writing concerns not merely the arrangement of words but the choice of them. Only the right words can convey the right meaning: the secret is to pick those words and to use them and them only. For the "right" words have a happy knack (a clever way) of arranging themselves for you. But, first, you must have something to say. Matthew Arnold once said: "Have something to say and say it as clearly as you can. That is the only secret of style." There is much truth in those words, especially in relation to the sort of writing where emotional appeal plays no part. We can turn to the member of the General Post Office who, by composing the notice "Postal officials are neither bound to give change nor authorized to demand it." used thirteen words hardly less efficiently to warn customers of what must have been as intractable (difficult to deal with) dilemma. Every word is exactly right; no other word would do as well; each is pulling its weight: none would be dispensed with. As was said of Milton' s prose.

"Fewer words would not have served the turn, more would have been superfluous."

The author's purpose is to persuade us that in order to write well, we should ______ .

A．study carefully the style. of writing

B．know the rules of grammar well

C．watch the arrangements of words in our sentences

D．know what we want to say and choose the right words

1 If Johnny can't write, one of the reasons may be conditioning based on speed rather than respect for the creative process. Speed is neither a valid test of nor a proper preparation for competence in writing. It makes for murkiness, glibness, disorganization. It takes the beauty out of the language. It rules out respect for the reflective thought that should precede expression. It runs counter to the word-by-word and line-by-line reworking that enables a piece to be finely knit.

2 This is not to minimize the value of genuine facility. With years of practice, a man may be able to put down words swiftly and expertly. But it is the same kind of swiftness that enables a cellist, after having invested years of efforts, to negotiate an intricate passage from Haydn. Speed writing is for stenographers and court reporters, not for anyone who wants to use language with precision and distinction.

3 Thomas Mann was not ashamed to admit that he would often take a full day to write 500 words, and another day to edit them, out of respect for the most difficult art in the world. Flaubert would ponder a paragraph for hours. Did it say what he wanted it to say—not approximately but exactly? Did the words turn into one another with proper rhythm and grace? Were they artistically and securely fitted together? These questions are relevant not only for the established novelist but for anyone who attaches value to words as a medium of expression and communication.

4 E.B. White, whose respect for the environment of good writing is exceeded by no word-artist of our time, would rather have his fingers cut off than to be guilty of handling words lightly. No sculptor chipping away at a granite block in order to produce a delicate curve or feature has labored more painstakingly than White in fashioning a short paragraph. Obviously, we can't expect our schools to make every Johnny into a White or Flaubert or, a Mann, but it is not unreasonable to expect more of them to provide the conditions that promote clear, careful, competent expression. Certainly the cumulative effort of the school experience should not have to be undone in later years.

According to the passage, competence in writing is ______.

A．an art that takes practice

B．a skill that requires dexterity

C．a technique that is easy to learn

D．a result of the spontaneous flow of words

The trip to the Mystery Caves will take place on Sunday, 27 July. You can book your tickets in Room 188 between 2:30 p.m. and 4:00 p.m. every day. Your parents should confirm (確認) the booking by writing to us as soon as possible. You should pay for the trip before 21 July. If we do not receive your money early enough, your booking will be cancelled(取消). If the trip does not take place for any reason, your money will be paid back.

We are planning to meet outside the railway station on Black Street at 8:00 a.m. It will take us about 2 hours to get to the center of the town by train, and from there we have to catch a bus. It will take another hour to get to the Mystery Caves on the bus.

We will spend about 1 hour and a half visiting the caves (山洞), and we hope to catch the 1:30 bus to Happy Lake for some swimming. If we are late, we will have to take the 3:00 bus straight back to Black Street.

When must you pay for the ticket?

A．At any time before the trip.

B．One week before the trip.

C．Three days before the trip.

The trip to the Mystery Caves will take place on Sunday, 27 July. You can book your tickets in Room 188 between 2:30 p.m. and 4:00 p.m. every day. Your parents should confirm (確認) the booking by writing to us as soon as possible. You should pay for the trip before 21 July. If we do not receive your money early enough, your booking will be cancelled(取消). If the trip does not take place for any reason, your money will be paid back.

We are planning to meet outside the railway station on Black Street at 8:00 a.m. It will take us about 2 hours to get to the center of the town by train, and from there we have to catch a bus. It will take another hour to get to the Mystery Caves on the bus.

We will spend about 1 hour and a half visiting the caves (山洞), and we hope to catch the 1:30 bus to Happy Lake for some swimming. If we are late, we will have to take the 3:00 bus straight back to Black Street.

When must you pay for the ticket?

A．At any time before the trip.

B．One week before the trip.

C．Three days before the trip.